SparkNotes: Far from the Madding Crowd: Characters Far from the Madding Crowd Thomas Hardy Summary Chapters 1 to 4 Gabriel Oak - The novel's hero, Gabriel Oak is a farmer, shepherd, and bailiff, marked by his humble and honest ways, his exceptional skill with animals and farming, and an unparalleled loyalty. He is Bathsheba's first suitor, later the bailiff on her farm, and finally her husband at the very end of the novel. Gabriel is characterized by an incredible ability to read the natural world and control it without fighting against it. He occupies the position of quiet observer throughout most of the book, yet he knows just when to step in to save Bathsheba and others from catastrophe. Bathsheba Everdene - The beautiful young woman at the center of the novel, who must choose among three very different suitors. She is the protagonist, propelling the plot through her interaction with her various suitors. At the beginning of the novel, she is penniless, but she quickly inherits and learns to run a farm in Weatherbury, where most of the novel takes place. Her first characteristic that we learn about is her vanity, and Hardy continually shows her to be rash and impulsive.

However, not only is she independent in spirit, she is independent financially; this allows Hardy to use her character to explore the danger that such a woman faces of losing her identity and lifestyle through marriage. Sergeant Francis (Frank) Troy - The novel's antagonist, Troy is a less responsible male equivalent of Bathsheba. He is handsome, vain, young, and irresponsible, though he is capable of love. Early in the novel he is involved with Fanny Robin and gets her pregnant. At first, he plans to marry her, but when they miscommunicate about which church to meet at, he angrily refuses to marry her, and she is ruined. He forgets her and marries the rich, beautiful Bathsheba. Yet when Fanny dies of poverty and exhaustion later in the novel with his child in her arms, he cannot forgive himself. William Boldwood - Bathsheba's second suitor and the owner of a nearby farm, Boldwood, as his name suggests, is a somewhat wooden, reserved man. He seems unable to fall in love until Bathsheba sends him a valentine on a whim, and suddenly he develops feelings for her.

Once he is convinced he loves her, he refuses to give up his pursuit of her, and he is no longer rational. Ultimately, he becomes crazy with obsession, shoots Troy at his Christmas party, and is condemned to death. His sentence is changed to life imprisonment at the last minute. Fanny Robin - A young orphaned servant girl at the farm who runs away the night Gabriel arrives, attempts to marry Sergeant Troy, and finally dies giving birth to his child at the poor house in Casterbridge. She is a foil to Bathsheba, showing the fate of women who are not well cared for in this society. Liddy Smallbury - Bathsheba's maid and confidant, of about the same age as Bathsheba Jan Coggan - Farm laborer and friend to Gabriel Oak Joseph Poorgrass - A shy, timid farm laborer who blushes easily, Poorgrass carries Fanny's coffin from Casterbridge back to the farm for burial. Cainy Ball - A young boy who works as Gabriel Oak's assistant shepherd on the Everdene farm. Pennyways - The bailiff on Bathsheba's farm who is caught stealing grain and dismissed.

He disappears for most of the novel until he recognizes Troy at Greenhill Fair and helps Troy surprise Bathsheba at Boldwood's Christmas party. More Help Far from the Madding Crowd | novel by Hardy | Britannica.com Far from the Madding Crowd novel by Hardy Don Quixote Far from the Madding Crowd, novel by Thomas Hardy , published serially and anonymously in 1874 in The Cornhill Magazine and published in book form under Hardy’s name the same year. It was his first popular success. The plot centres on Bathsheba Everdene , a farm owner, and her three suitors, Gabriel Oak (a generous shepherd), Sergeant Troy (a young, handsome, and inconsiderate soldier), and William Boldwood (the owner of the neighbouring farm). The contrasting relationships between Bathsheba and her suitors provide a study of the many faces of love, including honest, heartfelt love and unscrupulous and manipulative adoration. Learn More in these related articles: Bathsheba Everdene fictional character, heroine of the pastoral novel Far from the Madding Crowd (1874) by Thomas Hardy.

Bathsheba, the owner of a small farm, has several suitors: the abusive ne’er-do-well Sergeant Francis Troy, whom she marries; William Boldwood, a neighbouring farmer who kills Troy; and... Gabriel Oak fictional character, a skillful, hardworking, and honest young farmer in Thomas Hardy ’s novel Far from the Madding Crowd (1874). Oak is the first of several suitors for the beautiful but seemingly capricious Bathsheba Everdene. Though she rejects his love, he remains loyal to her and is... More about Far from the Madding Crowd 5 References found in Britannica Articles Assorted Reference Corrections? Updates? Help us improve this article! Contact our editors with your feedback. MEDIA FOR: You have successfully emailed this. Error when sending the email. Try again later. Edit Mode Far from the Madding Crowd Novel by Hardy Submit Tips For Editing We welcome suggested improvements to any of our articles. You can make it easier for us to review and, hopefully, publish your contribution by keeping a few points in mind. Encyclopædia Britannica articles are written in a neutral objective tone for a general audience.

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Categories A character from “Far From the Madding Crowd” by Thomas Hardy Introduction Bathsheba Everdene, the heroine of the novel, is an intriguing character from the beginning of Thomas Hardy’s novel, “Far From the Madding Crowd.” Bathsheba is introduced in the first chapter along with Gabriel Oak. Though the two marry at the very end of the novel, their relationship at this stage as well as throughout most of the novel is turbulent. Like all of Hardy’s characters, Bathsheba is inherently virtuous and is not in essence wicked. Nevertheless, she possesses characteristics which make her at times captivating while at other times abhorrent. It is these behavioral traits which cause the novel to be interesting and add new dimensions to an otherwise mundane plot. Appearance Fundamentally, “Far From the Madding Crowd” is a romantic tragedy. Hence, a romantic novel requires a character who is attractive and whom others are vying to be with. That character is Bathsheba Everdene. From the onset of the novel, the first man who meets her, Gabriel Oak, falls in love with her. Even Mr. Boldwood, who had previously never set his eyes upon a woman, became infatuated with her.

Liddy, Bathsheba’s maidservant companion remarked about him, “Never was such a hopeless man for a woman! He's been courted by sixes and sevens -- all the girls, gentle and simple, for miles round, have tried him.” Pride and Vanity Foreshadowing a twisted and intriguing plot, Gabriel Oak remarks in the first chapter that though Bathsheba is beautiful, her greatest weakness is her vanity. This characteristic of hers influences many of her consequential decisions early in the novel, but soon dies away as she experiences the troubles and miseries of life. The most memorable example of her vanity is in the first chapter when she looks herself in the mirror and blushes. This trait is further emphasized when Oak pays for her toll at the entrance of Norcombe Hill and she does not thank him. After taking the management of her farm into her own hands, her workers express disdainfully that though she has little experience, she listens to no advice and thinks herself to be knowledge in all affairs. Henery Fray, one of workers says “"A headstrong maid,1 that's what she is -- and won't listen to no advice at all.

Pride and vanity have ruined many a cobbler's dog.” Sergeant Troy, an impulsive and reckless man by nature entices Bathsheba due to this weakness of hers. As Hardy simply puts, “He had been known to observe casually that in dealing with womankind the only alternative to flattery was cursing and swearing. Bathsheba, as a result of the self-love of her charms, became a wretched victim to Troy ’s flattery. Though her consciousness told her that Troy was a dangerous man not to be dealt with, her vanity caused her to be dazzled by him. Ironically, Bathsheba’s marriage to Troy slowly usurped her pride. When Troy kissed Fanny Robin, the last instance of Bathsheba’s vanity was seen. On Fanny’s death, she prepared flowers for her husband’s ex-lover. On Troy ’s disappearance, she agreed to marry Boldwood to whom she felt a moral obligation towards. Wildness and Impulsive Nature As a young milkmaid, Bathsheba’s wild and impulsive nature is her second most prominent characteristic. Like her pride and vanity though, this too also erodes with the passage of time.

As Bathsheba grows older, she becomes more thoughtful of the consequences of her actions. Gabriel visits her house at Norcombe Hill with the intention of asking for her hand in marriage. She is not home and her aunt comments about her, “You see, Farmer Oak, she's so good-looking, and an excellent scholar besides -- she was going to be a governess2 once, you know, only she was too wild. Almost as if they are prophetic3 words, her aunt’s characterization of Bathsheba is shown in the same chapter when she runs to tell Gabriel that she has no suitors but still does not want to marry him. "Well -- that IS a tale!" said Oak, with dismay." To run after anybody like this, and then say you don't want him!" This characteristic is also later expressed when she, out of impulsiveness buys a valentine for one of her workers. And out of impulsiveness again, she decides to send it to Mr. Boldwood, a man of great respect and integrity. Glimpses of Bathsheba’s almost volatile nature are also brought out when she abruptly dismisses Gabriel and when she scolds her maids and her companion Liddy.

Another of Bathsheba’s prominent acts of impulsiveness is when she secretly tries to escape to Bath to warn Sergeant Troy. In the middle of the night, she obtains a horse from her stables and tries to quietly leave her farm. As Maryann, her maidservant says to herself, “A woman was out of the question in such an occupation at this hour,” because of the danger an expedition such as this posed to a woman. Bathsheba, a novice at traveling even miscalculated by a great deal the distance of the journey and time it would take her to get to Bath . Boldness and Practicality Early in the novel when Gabriel is suffocating in his hut, she, instead of becoming unnerved, throws milk unto an unconscious Gabriel and loosens his handkerchief to allow him to breathe. Months later, when Gabriel sees her as mistress of a large farm in Weatherbury, he is astonished at “the rapidity with which the unpractised girl of Norcombe had developed into the supervising and cool woman here.” Her abrupt dismissal of her bailiff, Pennyways, her decision to manage the farm herself and many other instances further enunciate this exceptional characteristic of hers.

Upon Troy ’s harsh and inconsiderate words to Bathsheba, she runs away from home. Later, she realizes the folly of her act and tells her friend, Liddy that she has resolved that she will return home. Almost immediately, she starts her journey back home. “It is only women with no pride in them who run away from their husbands. There is one position worse than that of being found dead in your husband's house from his ill usage, and that is, to be found alive through having gone away to the house of somebody else. I've thought of it all this morning, and I've chosen my course. A runaway wife is an encumbrance to everybody, a burden to herself and a byword…” This admirable characteristic is clearly depicted upon her husband Sergeant Troy’s death. As Hardy points out, “All the female guests were huddled aghast against the walls like sheep in a storm, and the men were bewildered as to what to do.” Bathsheba, on the other hand, was sitting upon the floor with her husband’s head in her lap. She was using a handkerchief to cover his wound and not allow the blood to flow.

Upon Gabriel’s arrival, she immediately tells him to fetch a surgeon. Three hours later, when the surgeon arrives, he is astonished to see that everything has been arranged. “It is all done, indeed, as she says," remarked Mr. Aldritch5, in a subdued voice. "The body has been undressed and properly laid out in grave clothes. Gracious Heaven -- this mere girl! She must have the nerve of a stoic6!" Regard for her Maiden Purity and Want of Independence Bathsheba is not a shy woman but still views her maiden purity with high regard. When Bathsheba’s personality is first introduced early in the novel, Hardy remarks about her, “Had she been put into a low dress she would have run and thrust her head into a bush. Yet she was not a shy girl by any means; it was merely her instinct to draw the line dividing the seen from the unseen higher than they do it in towns.” After Troy , the man she loves, kisses her, she is shocked and feels vulnerable and impure. “That minute's interval had brought … upon her a stroke resulting, as did that of Moses in Horeb7, in a liquid stream -- here a stream of tears.

She felt like one who has sinned a great sin.” This characteristic of hers propels the plot forward in many cases. For example she tells Gabriel that she would like to have all the niceties of a marriage but does not want to have a husband. And though she regards Boldwood with high esteem, she does not want to marry him and keeps delaying the decision to do so. It is only Troy ’s victimizing flattery, impulsiveness and her vanity that cause her to succumb to marriage. Her regard for her maiden purity is associated with another desire of hers: her yearning to be independent. She tells Oak, “…nobody has got me yet as a sweetheart, instead of my having a dozen, as my aunt said; I HATE to be thought men's property in that way, though possibly I shall be had some day.” Her Virtuous Nature Like all of Hardy’s characters, Bathsheba is neither inherently evil nor possesses any malicious objective. Even Troy , the man who is deemed dangerous and untrustworthy, is not evil but rather lacks a moral compass to tell him right from wrong.

The plot of “Far From the Madding Crowd” is propelled because of this characteristic of hers and often depicts scenes where Bathsheba is puzzled between morality and desires. Her decision to save Gabriel’s life, sympathize with Fanny Robin, and refusal to ignore an intruding Sergeant Troy are excellent instances of her high level of morality. She sent her valentine to Boldwood on a whim without caring or thinking about its far-reaching effects. But after she realizes what it has done, she grieves for her mistake and tries in many ways to repent of her sin. Though she does not want to marry Boldwood, she does not want to reject him either, conscious of the fact that it was her actions which caused the love he had developed for her. She later agrees to marry him only because of this reason though every other instinct of hers tells her to do otherwise. Self-Opinion Bathsheba Everdene is an exemplary character in “Far From the Madding Crowd”. Though she has her faults and makes many wrong and disastrous decisions, she is always eager to correct her mistakes. Her good characteristics by far outweigh her bad ones and she is the most engaging and lovable character in the novel.

Notes 1-head-strong maid- This phrase used by Henery Fray means that Bathsheba is a woman who has little experience in how to manage a farm but still listens to no advice from anyone. 2-governess- Bathsheba’s aunt says that Bathsheba is fit to control and direct the making and administration of policy, meaning that Bathsheba has the traits necessary for management except that she often makes wild and inconsiderable actions, foreshadowing that she will become a manager some day. 3-prophetic-here I used the word prophetic to signify that her aunt’s words almost told the future, not necessarily that her aunt knew the future. The word prophetic has a different meaning from the word Prophet. 4-… high generation, hated at tea parties, feared in shops, and loved at crises.- here this quote refers to the fact that whatever Bathsheba, believes to be the right thing to do, she does it almost automatically. 5-Mr. Alderitch- in some versions of the novel, Mr. Granthead is used instead of Mr.

Alderitch 6-stoic- meaning one apparently or professedly indifferent to pleasure or pain- refers to a member of a school of philosophy founded by Zeno of Citium about 300 b.c. holding that the wise man should be free from passion, unmoved by joy or grief, and submissive to natural law- Mr. Alderitch is impressed by the fact that she is almost emotionless. 7-Moses in Horeb- This phrase alludes to the verse 17:6 in the bible when Moses strikes a rock and water gushes forth from it so that the people can drink. Hardy uses this phrase to explain that Bathsheba cried so much that it was as if water from a spring was coming out from her eyes. 8-Jove- the Roman God Jupiter who was the king of Gods in (Definitions of words taken from Merriam-Webster’s Online Dictionary) Posted by Bathsheba Everdene in Far From the Madding Crowd Character Analysis The Vain We don't know Bathsheba's name the first time we see her in this book, but we do know that she's very fond of her own appearance.

When Gabriel Oak watches her from across a field, the first thing he notices is that "a small swing looking-glass was disclosed [in her hand], in which she proceeded to survey herself attentively. She parted her lips, and smiled" (1.13). Or in other words, Bathsheba likes to look at herself in mirrors when she doesn't think anyone is watching. It's like checking yourself out in a window's reflection before realizing that there's someone on the other side of the window looking right at you. Awkward. The thing that really gets Oak about Bathsheba's vanity is the sheer excess of it. It's one thing to look in a mirror to straighten your appearance, but he realizes right away that "[t]here was no necessity whatever for her looking in the glass. She did not adjust her hat, or pat her hair, or press a dimple into shape […]" (1.15). This vanity is something that continues to pop up later in the book, eventually leading Bathsheba to curse God for giving her such a beautiful face. Sheesh. Get over yourself.

The Independent Even though she's vain, Bathsheba is still a respectable character in this novel, mostly because of the way she is able to be so independent as a woman living in 19th-century England. We can see signs of this independence early on when Bathsheba decides to ride her horse like a man, with one leg dangling over either side of the saddle. To her aunt (and to most Victorians), this is a sexually scandalous thing to do. But Bathsheba confidently responds to any objections by saying, "I can ride on the other [saddle]: trust me" (2.31). Bathsheba really shows what she's made of when she decides to fire her farm's manager and to run the place herself. For the men working under her, this is an unthinkable thing to do. But again, Bathsheba is ready for the challenge, telling them, "I have two matters to speak of. The first is that the bailiff is dismissed for thieving, and that I have formed a resolution to have no bailiff at all, but to manage everything with my own head and hands" (10.2).

She goes on to do a very good job of running the farm, which makes pretty freaking ahead of her time. Now if only she were as good at choosing husbands… The Emotional The narrator is always quick to tell us what a rational and intelligent person Bathsheba is. The problem is that whenever she has a single irrational thought, it tends to overpower her. Or as the text reads, "Many of her thoughts were perfect syllogisms; unluckily they always remained thoughts: only a few were irrational assumptions; but unfortunately they were the ones which most frequently grew into deeds" (20.5). And there seems to be no deed that comes back to bite her more than marrying Sergeant Troy. Being a proud and superficial person, Bathsheba is more interested in a cocky, handsome young man than she is in a solid, loving partner like Gabriel Oak. But don't worry: the book is going to teach her a lesson on this one. When Sergeant Troy first steals a kiss from Bathsheba, she truly doesn't know what to do. She's spent so much of her life acting proud toward men and holding their hearts in the palm of her hand that she can't believe any of them would ever dare to kiss her.

But the thing is that she also likes the kiss, so her confusion just collapses in on itself until she cries: "It had brought upon her a stroke resulting, as did that of Moses in Horeb, in a liquid stream—here a stream of tears. She felt like one who has sinned a great sin" (28.52). Protagonist in Far From the Madding Crowd Character Role Analysis Bathsheba You might think that Gabriel Oak is the protagonist of this novel, since we get to know him in detail in the novel's early pages. But Bathsheba Everdene has all the characteristics of a protagonist. First and foremost is the fact that she, unlike Gabriel Oak, is far from perfect. She's the character that needs to fix her inner flaws in order to achieve a (sorta) happy ending. Bathsheba is also the one whose actions and decisions drive the plot. She decides to be her own boss, she decides to send Boldwood a prank Valentine, and she decides to marry Troy. She then has to deal with the fallout of these actions. Or, to put a pastoral spin on it, she's made to reap what she sows.

Literature’s feistiest feminists: How Thomas Hardy paved the way for The Hunger Games’ Katniss Everdeen - Telegraph Far from the Madding Crowd 2015 Literature’s feistiest feminists: How Thomas Hardy paved the way for The Hunger Games’ Katniss Everdeen With a new film adaptation of Thomas Hardy’s Far From the Madding Crowd to be released, the book’s feisty heroine is sure to enchant a new generation of fans. Clementine Ford argues for the importance of complex women characters Bathsheba Everdene, the formidable heroine at the centre of Thomas Hardy’s Far From the Madding Crowd 11:01AM BST 20 Apr 2015 "Well, what I mean is that I shouldn't mind being a bride at a wedding, if I could be one without having a husband. But since a woman can't show off in that way by herself, I shan't marry - at least yet." So says Bathsheba Everdene, the formidable heroine at the centre of Thomas Hardy’s Far From the Madding Crowd .

Although written almost 150 years ago, Bathsheba remains as fierce a character as ever - and she will be brought to life once more in a dazzling new production starring Carey Mulligan, Michael Sheen and Matthias Schoenaerts. Directed by Thomas Vinterberg, the film (due for release in May) perfectly captures the allure of Bathsheba and the stunning Wessex countryside that forms the backdrop for Hardy’s tale of love, resilience and independence. But what is it that makes Bathsheba so alluring, even today? It can’t be her beauty: if literature has taught us anything, it’s that beauty without dimension becomes rapidly dull. Rather, it’s the complexities of Bathsheba that define her as extraordinary. Her desire for independence and to determine her own destiny certainly fixes her as a proto-feminist, which is a welcome respite from the many female characters penned by men over the years who have been little more than ciphers or projections of the masculine ego. Her wit is enchanting, as is her self-regard. And yet, Bathsheba is not what modern parlance typically calls a “strong female character”.

Less a definition than a reduction, the SFC was Hollywood’s devious response to the frustrations feminists had with the representation of women. The long history of women performing the decidedly uninteresting role of love interest or supportive family member might not have abated, but we are now supposed to be content with occasional glimpses of fierceness - women who live independently, can rough and tumble with the best of them and yet, perhaps not so surprisingly, still seem to end up as the reward for the real protagonist. Unlike these artificial visions of femininity, Bathsheba is not a woman whose only strength is knowing how to wield a strong will and a stronger wisecrack. Like the new generation of complex female characters (think Clarke, Lexa and Octavia from The 100; Arya Stark and Cersei Lannister in Game of Thrones; Katniss Everdeen in The Hunger Games), Bathsheba is rich with nuance. Her decisions are not always right, nor is her motivation always clear. She is not always likeable - and it is this, above all else, that makes her so real and relatable.

In Hebrew, Bathsheba means “daughter of the oath” but Bathsheba Everdene can be seen instead as one of the foremothers of great women in literature. Who, then, have been some of her successors? Anne Shirley, Anne of Green Gables The eponymous heroine of LM Montgomery’s Anne of Green Gables shared Bathsheba’s views on marriage, favouring independence over becoming merely the property of a man. After being sent as an orphan to Matthew and Marilla Cuthbert at the age of 11, Anne gradually wins over the hearts and minds of her community with her enthusiasm and bravado. Anne stands at odds with the idea that women should conceal their emotions and effervescence: she is buoyant beyond measure, devoting herself to her friendship with Diana Barry (“my kindred spirit!”) and fighting fiercely with Gilbert Blythe. A heroine to multiple generations of young girls, Anne was both tenacious and uncompromisingly loyal to her convictions.

Lisbeth Salander, The Girl with the Dragon Tattoo A drastic departure from the sunny dispositions of Anne Shirley and I Capture the Castle’s Cassandra Mortmain, Lisbeth Salander explodes like a volcano onto the pages of Stieg Larsson’s Millennium trilogy. Originally titled Men Who Hate Women, Larsson’s The Girl With the Dragon Tattoo introduced Lisbeth to the world. Damaged and exploited by the system which she must also answer to, Lisbeth’s endurance in the face of relentless misogyny harks back to the same ferocity that drives Hardy’s Bathsheba. These are both women forced to operate within a world that neither respects their individual autonomy nor listens to the language that they speak to tell their stories. Arya Stark, Game of Thrones George RR Martin’s Game of Thrones series is probably the biggest thing to happen to the world of serialised novels since... well, ever. Their enduring popularity is partially due to the combination of lustful sex scenes and glorified violence, but there’s something else, too - the complexity and agency that Martin gives to his female characters.

Boasting a rich tapestry of women, there are few more intriguing than young Arya Stark, whose disregard for feminine wiles underpins her desire to avenge the deaths of her family members. From the opening moments of Martin’s odyssey, Arya rejected the path set out for noble women and it’s anyone's guess what her fate may end up being. Katniss Everdeen, The Hunger Games Which brings us to the last of Bathsheba’s daughters. Katniss Everdeen owes her name to Hardy’s heroine; Suzanne Collins, author of The Hunger Games, said of the pair that “the two are very different, but both struggle with knowing their hearts”. Indeed, Katniss is a closed book, protective of the few people she loves and uncomfortable with the vulnerability that comes from opening herself to others. Charged with leading a revolution against the dystopian government rulers of Panem, Katniss rejects the frivolous romantic intrigues of many of her literary contemporaries and focuses instead on being a leader.

In a vague nod to Hardy’s denouement, the trilogy’s closing moments reveal that even post-revolution happiness comes at a cost for Katniss, as it surely must do for anyone who has been through the trauma of war. The worth bestowed upon literary heroines who boast nuance and complexity may still be undervalued, but it does at least exist. And it exists in part because characters such as Bathsheba Everdene have stood the test of time and paved the way for other flawed, raw and wonderfully real women to be committed to the page. We need women like Bathsheba precisely because they are real, instead of artificially imagined versions of women as many male writers would like them to be. Flawed female characters are perhaps the most feminist literary expression of all, because they tacitly recognise the multi-dimensional landscapes that exist inside the women reading them. With this new adaptation set for release, viewers will be given the opportunity to either reacquaint themselves with Bathsheba. Or perhaps, luckily, meet her for the first time.

Far From the Madding Crowd | The Misanthropologist Far From the Madding Crowd themisanthropologist / May 12, 2015 Before the name Everdene (spelled -deen) was popularized by a willful, bow-and-arrow-toting girl fighting against an oppressive government, it was already the name of an equally strong, spirited, and independent young woman, Bathsheba Everdene, the heroine of Thomas Hardy’s novel Far From The Madding Crowd. Published anonymously in a monthly serial in 1874, Far From the Madding Crowd chronicles the life and times of Bathsheba Everdene and her romantic trials with 3 very different suitors. **warning: may be a bit spoiler-ish beyond this point (but not much)** Though born poor, Bathsheba Everdene, upon the death of her uncle, inherits his farm in the English countryside. Young and inexperienced as she was, she single-handedly took on the task of running and supervising the workers and goings-on of her farm, something that was unheard of in the 1800s.

A little before she inherits her uncle’s farm, Bathsheba, while visitng her aunt in another town meets Farmer Gabriel Oak, a newly independent farmer/shepard. Gabriel Oak, despite being level-headed, responsible, and grounded in his beliefs and principles, immediately falls in love with Bathsheba and asks for her hand in marriage. Having just known Gabriel, Bathsheba refuses his offer, claiming that she was penniless and far beneath his station. In truth, at the time, though Bathsheba liked the thought of marriage and the attention it would bring to her, she didn’t relish the thought of having a husband – being with the same man day in and day out – very much. Broken-hearted but determined to love Bathsheba forever despite being rejected, Gabriel strives to forget her and move on with his life. When Bathsheba’s visit with her aunt ends, Gabriel mourns that he would never see Bathsheba again. However, fate was not done with them yet. An unfortunate turn of events in the life of Gabriel Oak puts him once again across Bathsheba’s path – this time he as a poor shepard seeking employment, and she an heiress of a sprawling farm.

Her new station in life – as an independent, beautiful, and unmarried, young woman running and maintaining a farm, attracts the attention of everyone in the neighborhood, farmers, laborers, and villagers alike, much to her pleasure. However, there was one man who did not seem to be affected by her feminine charms – the wealthy, stoic, and mysterious Farmer Boldwood, owner of the farm adjoining hers. Immune to her presence (for he never seemed to notice her whenever they were in the same room), she was determined to attract his attention. This she succeeded in doing by an act of sheer folly. Once aware of her existence, Farmer Boldwood acknowledged that Bathsheba, in terms of grace and beauty, was a cut above the average woman, and declares his undying love for her, asking her to marry him as he would be her perfect match in every way. He promised to cherish and provide for her better than any man can and will. Bathsheba, on her part, never imagined that her one act of foolishness to get Farmer Boldwood’s attentions would get her a marriage proposal.

Having no reason to refuse his offer except for a lack of love on her part, Bathsheba finds it more difficult to thwart his advances. In her guilt to make amends with Farmer Boldwood, Bathsheba makes him believe that he may hope to receive her hand, and that she can learn to love him someday. Though all signs pointed to Farmer Boldwood marrying Bathsheba, the arrival of a new character in the village, Sargent Troy, derails not only Farmer Boldwood’s plans, but also Bathsheba’s life. The handsome, dashing, sweet-talking, soldier sweeps Bathsheba off her feet who falls madly in love with him, despite herself. Ignoring the sound advice of Gabriel (who has since become not only a trusted employee but also her only friend), and forsaking her promise to Farmer Boldwood, Bathsheba abandons herself to love and passion and runs away with Troy. Unfortunately, by putting her happiness above all else, Bathsheba’s choices, contrary to everyone’s expectations, causes irreversible consequences, not just in her life, but also in the lives of those around her.

Being an independent, spirited, and intelligent individual, Bathsheba Everdene has the misfortune of living in a time when young, unmarried women were not allowed make their own choices and live their lives on their own terms. At the time, young women were expected to be dependent on men – to run their farms, to manage their finances, and to support them in marriage. It was unheard of for young women to reject marriage proposals from sensible men, based on a lack of love. Bathsheba, because of her good looks, and later, good fortune, was troubled by other people’s expectations of her marriage and happiness. To live up to the expectations of society, should she have chosen the young, practical, but plain Farmer Gabriel, or the wealthy, successful Farmer Boldwood, despite not being in love with either of them? Far From the Madding Crowd has been sometimes compared to Middlemarch, both novels highlighting the rural, middle-class society. Both also have strong female characters who forsake family or societal expectations in the name of love or for personal happiness, though in very different ways.

Middlemarch and Far From the Madding Crowd also have similar narrative styles in which readers are privy to the characters’ secret lives, thanks to an omnipresent and rather opinionated narrator. In fact, it was even believed at the time that George Eliot was the real author of Far From the Madding Crowd. Unlike George Eliot though, Thomas Hardy pays more attention to the setting of his novel and describes their natural surroundings in detail. Though categorized as a romance, Far from The Madding Crowd is so much more than a love story. It is a critique on society and the traditional roles of men and women, championing feminism and independence. It’s also a story of loyalty and friendship, bonds that far outweigh ephemeral passions. Far from the Madding Crowd also raises ethical and moral issues on the limitations and extent of loyalty, obligation, and atonement and sees the evolution and maturity of many of the characters, from Bathsheba Everdene, to Gabriel Oak, Farmer Boldwood, and Sgt. Troy. Once all young, naive, idealistic or practical, they all undergo drastic changes upon meeting and knowing each other – some for the better, some for the worse.

Though I enjoyed Far From the Madding Crowd, I had no strong reactions or feelings toward Bathsheba Everdene, the events in her life, or the choices she made. Unlike Middlemarch, I was not incensed or annoyed by any of the characters, or affected by their thoughts or actions. Though Bathsheba made some colossal mistakes in her life and changed considerably mentally, and emotionally by the end of the novel, I was not particularly moved by her plight. However, it would be unfair to use Middlemarch as a yardstick to measure other classic works of literature against, as they are all brilliant in their own right. Far From the Madding Crowd is a thought-provoking work of literature that should definitely not be passed up. Far From the Madding Crowd as been adapted to the screen many times. There’s a 1967 movie version starring Julie Christie as Bathsheba Everdene; a 1998 tv movie starring Paloma Baeza as Bathsheba, and hunky Nathaniel Parker (who also played steamy and dreamy Mr.

Rochester in Wide Sargasso Sea ) as Gabriel Oak; and the latest version (2015) starring Carrie Mulligan as Bathsheba, Matthias Shoenaerts as Gabriel Oak, Michael Sheen as Farmer Boldwood, and Tom Sturridge as Sgt. Troy. *** Far From the Madding Crowd (1874) – Thomas Hardy Penguin English Library; 445 pages Personal rating: 3.5/5 Discuss Hardy's Treatment of Women in "Far from the Madding Crowd" - GCSE English - Marked by Teachers.com Discuss Hardy's Treatment of Women in &quot;Far from the Madding Crowd&quot; Extracts from this document... Introduction Emma Blower 10 P Altrincham / Loreto Centre No. 33615 Discuss Hardy's Treatment of Women in "Far from the Madding Crowd" The nineteenth Century novel "Far from the Madding Crowd" written by Thomas Hardy, is one of great variety in terms of its female characters. Even though a male wrote this book, the protagonist is a very dominant and headstrong woman called Bathsheba Everdene. Bathsheba is the heroine of the story and she dominates the novel.

This novel is very successful as it shows great empathy with the female psyche and incredible male insight. Fanny, however, is a maid and a traditional folklore figure. She is a wronged woman and a victim who has been betrayed by Sergeant Troy. There is a great contrast between and a tremendous polarization of Fanny the Victim and Bathsheba the Heroine. On the other hand, Liddy is an average female of the time and she is a norm by which to measure Bathsheba's superiority. She has gained Bathsheba's trust and even friendship. Susan Tall and Temperance and Soberness Miller are stereotypical women who are in the novel to add humour which will contrast with the darker moods of the plot. Hardy uses these women for lighthearted comic effect. Temperance and Soberness are ironic characters because they are "Yielding Women." The other women, the maids and the peasants are in the novel to provide a realistic setting. Without Bathsheba's aunt, the kitchen maids and Maryann the novel would be lacking realism.

These characters are also in the novel to offer comments to the reader on what is happening and they help to create the atmosphere of simple, unchanging country life which Hardy loved and valued so much. Bathsheba is a very active character in this novel. She is an unconventional woman and she defies the conventions of the time. This is shown when Bathsheba rides upon horseback in a very skilled manner rather then on the side - saddle, Bathsheba: "Yes, aunt; and I'll ride over for it as soon as it is light." ...read more. Middle Bathsheba: "Because you never ask." Bathsheba has the best and the worst of femininity. She is a woman ahead of her time but she is still very much a woman. By Contrast, Fanny's course is downward while Bathsheba's is upward. Fanny breaks the sexual laws and pays the harsh price for this; this is that she herself is broken. Fanny is helpless when she traipses to the barracks to convince Troy that they must get married and when she waits at the wrong church for Troy. Fanny knows that if Troy does not marry her she will be a social outcast; this results in her begging Troy.

Here Hardy is showing how helpless women were in Victorian times. Hardy is also telling us that there was a double standard in Victorian times. This is that sexual looseness is a source of amusement and admiration for men, in this case Frank, but for women, in this case Fanny it wrecks their life. Fanny becomes a person of no account, which shows society's coldness. She disappears and to get to the workhouse Fanny has to depend on a dog. Fanny was dependant on a dumb creature. This is a very visual chapter as the dog is the only thing that helped Fanny and then it was stoned away, ""I stoned him away," said the man." The dog that helped Fanny is a stray just like her. Hardy uses the dog as a symbol for Fanny because the are both rejected and badly treated: the dog was stoned, Fanny was left by Troy. There is the utter desolation of the barracks and the workhouse in these scenes. Hardy sympathises with Fanny but has great contempt for Troy and the workhouse officials who treated her so badly.

Hardy has no contempt for Fanny's loss of her virginity but he says that Fanny was too trusting to the wrong man. ...read more. Conclusion For example she experiences long months of loneliness when Troy has gone away and when he died. During these times she simply stayed in her room. By the end of the novel Bathsheba is very different from the beginning. She becomes a more serious, thoughtful and caring girl. She has to learn to swallow her pride and tell Gabriel that she wants him. Bathsheba is rewarded with a good man and a good marriage, which is built on friendship, trust and extensive knowledge of each other, including the best and worst of each other's character. Hardy's point is that they know each other in a practical way as they are work partners and so they can trust each other. They can depend on each other and have the security that Bathsheba needs, "This good -fellowship - camaraderie - usually occurring through similarity of pursuits, is unfortunately seldom superadded to love between the sexes, because men and women associate, not in their labours, but in their pleasures merely ......

that loves which many waters cannot quench, nor the floods drown, beside which the passion usually called by the name is evanescent as steam." Bathsheba's marriage is a good marriage as there are no illusions and romantic notions. In Victorian times a woman status depended on her marriage, this shows us that luck is in Bathsheba's way. On the other hand there is something inescapably sad. She only smiles, she does not laugh now. Bathsheba is truly in a traditional role now: she is dependent on a man (Gabriel), she has long since lost interest, in the farm which she used to check each night and she takes no part in the farms running. Hardy's words point towards Bathsheba in triumph but the mood points towards Bathsheba in defeat. Still, for all that, Hardy is remarkable in his treatment of women, his understanding, compassion, respect and equality for the most part. But perhaps the implications of the final ambiguous image show him a Victorian at heart. Bathsheba has a lightweight personality and is lucky indeed to have won Gabriel. 1 ...read more.

The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Far From the Madding Crowd section. Found what you're looking for? Start learning 29% faster today 150,000+ documents available Summer Sneaks 2015: Carey Mulligan in 'Far From the Madding Crowd' - LA Times Susan King 'I loved the character,' Carey Mulligan says of playing Bathsheba Everdene in 'Far From the Madding Crowd' British actress Carey Mulligan was anxious when she played F. Scott Fitzgerald's American heroine Daisy Buchanan in Baz Luhrmann's 2013 adaptation of "The Great Gatsby." The 1925 novel, she said, was the "most read, loved book in America." "Daisy is described in such adoring terms. I found that really intimidating, because I had always played normal women and normal girls," she added.

"Of course, everyone who ever read that book knows exactly how they see Daisy in their own minds." She felt the same way with her latest role, portraying yet another celebrated literary female protagonist, the strong-willed, independent and willful Bathsheba Everdene for Danish director Thomas Vinterberg's "Far From the Madding Crowd," based on Thomas Hardy's 1874 novel. FULL COVERAGE: Summer Movie Sneaks "You can't dive into every single person's imagination and pick out the qualities they see in the character," Mulligan said by phone from New York, where she's starring in the Broadway revival of David Hare's "Skylight." As an actress, the 29-year-old noted, "you have to go by your instincts," no matter how well known the character is. (Kenneth Turan) In the romantic drama shot in England's picturesque West Country, often referred to as "Hardy country," Bathsheba is a young woman without means whose life and fortunes change when she inherits her uncle's farm. The fearless Bathsheba is determined to run the property, much to the shock of the local male farmers.

("Hunger Games" author Suzanne Collins was inspired to name her resourceful Katniss Everdeen after the self-assured Hardy heroine.) The 2015 Summer Movie Preview is a snapshot of the films opening through early September. Release dates and other details, as compiled by Oliver Gettell, are subject to change. Bathsheba is also pursued by three very different suitors — the loyal, handsome shepherd Gabriel Oak (Matthias Schoenaerts); the wealthy older neighbor William Boldwood (Michael Sheen), who becomes obsessed with her; and the magnetic and reckless army sergeant Frank Troy (Tom Sturridge). The Oscar-nominated actress ("An Education") didn't watch John Schlesinger's 1967 film adaptation of "Far From the Madding Crowd," starring Julie Christie as Bathsheba, preferring to use the book as her guide to the story. "I loved the character," she said. "What I loved so much was the first thing she does in the book is refuse an offer of marriage. I found that so refreshing.

So often so many of these period dramas are about women trying to find men to fix their problems and sort of start their lives." Bathsheba's early feminist leanings weren't the only unusual aspect of the story Mulligan admired. "I mostly associate costume dramas with people standing in stiff corsets in dark mahogany rooms and talking in low voices. This was going to be about people really living in the land and riding around on horses and facing real problems," she said of the film, which opens May 1. Vinterberg ( "The Hunt" ), who had seen most of Mulligan's previous work, thought from the outset that "she was the right person for the part." "She was the perfect combination of being very vulnerable and yet very strong and smart," he added. "I thought she could capture this very independent spirit, because it is somehow part of herself." Mulligan, he noted, also had "faith in my work." "She is a woman who read the book many, many times — more times than I had — and sort of carried it with her as a kind of witness to everything we did," he said.

Far from the Madding Crowd Exhibition - Dorset County Museum Dorset County Museum Home > Exhibitions > Past Exhibitions > Far from the Madding Crowd Exhibition From Hardy to Vinterberg and back to Dorset again. With the release of Thomas Vinterberg’s Far From The Madding Crowd, based on Thomas Hardy’s classic novel, Dorset County Museum is combing its unique collection of original Thomas Hardy artefacts alongside costumes from this eagerly awaited movie. The Museum is exhibiting three beautiful dresses worn by actress Carey Mulligan who plays Hardy’s independent and strong female protagonist, Bathsheba Everdene. The movie boasts an impressive cast with Michael Sheen, Matthias Schoenaerts and Tom Sturridge starring as the three very different suitors all competing for the affections of Vinterberg’s leading lady; Carey Mulligan. This is a remarkable, once in a lifetime chance to experience the journey of Hardy’s story from its conception to its modern adaption in the very place it was inspired; Dorset. Thomas Hardy’s Far From the Madding Crowd is one of the great literary classics. More than this, Hardy created one of the most iconic heroines who was so ahead of her time that the story is still strikingly modern to this day.

She is a strong and independent woman, not only in her role as a farm heiress, but in the choices she faces in both life and love. She is arguably still an inspiration to any modern woman today, as she confronts the pressures of being a woman in man’s world whilst she attempts to uncover what, and who, her heart truly desires. Embroidered silk jacket worn by Carey Mulligan Jonathan North / DCM © 2015 Vinterberg’s Vision for Dorset and its Leading Lady In this film, Vinterberg envisaged his leading lady as a character who is as importance in modern times as when Hardy first imagined her. He described his Bathsheba Everdene as, ‘I wanted her to be this strong woman ahead of her time, who takes no orders from anyone, who steps into a man’s world with a female power that wasn’t really accepted at that time, that is still a topic of debate over 100 years later. And yet, at the same time, I wanted her to be this vulnerable woman trying to learn the rhythms of men and her surroundings.

That duality is what makes her so rich and so alluring.’ It is through Bathsheba’s wardrobe that this aim is truly achieved. The costumes, designed by four times Academy Award nominee Janet Patterson (The Piano, Bright Star), are the visual expression of Bathsheba’s empowering characteristics. Her attire shows how ‘Vinterberg wanted to avoid the crinolines and bustles associated with Victoriana, so he moved the story’s action to 1880, when fashion suddenly turned to a sleeker, more modern silhouette - one more befitting a woman who rides, climbs ladders and jumps into the sheep dip.’ The Museum’s exhibition with three of these very costumes truly brings to life this vision of Vinterberg’s. They are all beautifully elegant and reflect Bathsheba’s attractiveness; whilst also having a striking and commanding presence. Original Thomas Hardy's manuscript of 'Far from the Madding Crowd' on display at the museum DCM © 2015 Where the Past meets the Present These exquisite costumes stand alongside some of Hardy’s original manuscripts and belongings.

The Museum boasts an impressive collection of Thomas Hardy’s artefacts such as a manuscript of part of Far From The Madding Crowd, Volume I of first edition of Far From The Madding Crowd from 1874 and a Valentine card sent to his sister, Kate, (perhaps similar to the one Bathsheba sends to Farmer Boldwood). These original pieces are combined with modern paperback editions of the novel and souvenir booklets from both the silent film made 100 years ago by Turner Films and the upcoming 2015 version of Far From the Madding Crowd distributed by Fox Searchlight Pictures. Carey Mulligan as Bathsheba Everdene in the new film adaptation of Thomas Hardy’s novel Far From Madding Crowd Fox Searchlight Pictures © 2015 Dorset as an Original and Modern Muse Famously, Dorset played such an important role in the inspiration for Hardy’s novel. However, you might not be aware of the equally important role Dorset played in Vinterberg’s version of Far From The Madding Crowd. Thomas Vinterberg’s vision for his adaptation involved shooting right here in our very own Dorset. Vinterberg described Dorset as ‘the only place to shoot’ his movie.

He was quoted saying, ‘Shooting on location was a necessity. These landscapes are so important to these characters and to the whole feeling of the story. We had to come here and get the real thing. We stayed in the places Hardy was inspired by, we embraced the surroundings and we felt a complete sense of surrender to this universe.’ The costumes from the film are currently on display at the Dorset County Museum until 8th June 2015. For further information contact the Museum on 01305 756827 Dorset County Museum is grateful for the support of the following:

Question: Bathsheba Everdene is the female protagonist of which Thomas Hardy novel?
Answer: Far From the Madding Crowd